Podcast Episode 36
image source: King James I of England and VI of Scotland; Henry, Prince of Wales; Anne of Denmark,
The Great Bard: King Author
"In the Platonic, Neopythagorean, Middle Platonic, and Neoplatonic schools of philosophy, the demiurge (/ˈdɛmiˌɜːrdʒ/) is an artisan-like figure responsible for fashioning and maintaining the physical universe. The term was adopted by the Gnostics. Although a fashioner, the demiurge is not necessarily the same as the creator figure in the monotheistic sense, because the demiurge itself and the material from which the demiurge fashions the universe are both considered to be consequences of something else. Depending on the system, they may be considered to be either uncreated and eternal, or considered to be the product of some other entity. The word "demiurge" is an English word from demiurgus, a Latinized form of the Greek δημιουργός or dēmiourgos. It was originally a common noun meaning "craftsman" or "artisan", but gradually it came to mean "producer", and then eventually "creator". The philosophical usage and the proper noun derive from Plato's Timaeus, written c. 360 BC, in which the demiurge is presented as the creator of the universe. This is also the definition of the demiurge in the Platonic (c. 310–90 BC) and Middle Platonic (c. 90 BC – AD 300) philosophical traditions. In the various branches of the Neoplatonic school (third century onwards), the demiurge is the fashioner of the real, perceptible world after the model of the Ideas, but (in most Neoplatonic systems) is still not itself "the One". In the arch-dualist ideology of the various Gnostic systems, the material universe is evil, while the non-material world is good. According to some strains of Gnosticism, the demiurge is malevolent, as it is linked to the material world. In others, including the teaching of Valentinus, the demiurge is simply ignorant or misguided."
" "Hold no Parliaments," he tells Henry, "but for the necesitie of new Lawes, which would be but seldom". In the True Law, James maintains that the king owns his realm as a feudal lord owns his fief, because kings arose "before any estates or ranks of men, before any parliaments were holden, or laws made, and by them was the land distributed, which at first was wholly theirs. And so it follows of necessity that kings were the authors and makers of the laws, and not the laws of the kings.""
King James The Bard King
"The Basilikon Doron is a treatise on government written by King James VI of Scotland (who would later become James I of England), in 1599. Basilikon Doron (Βασιλικὸν Δῶρον) in the Greek language means royal gift. It was written in the form of a private letter to the King's eldest son, Henry, Duke of Rothesay, born 1594. After Henry’s death in 1612, James gave it to his second son, Charles, born 1600, later King Charles I. Seven copies of it were printed in Edinburgh in 1599, and it was republished in London in 1603, when it sold in the thousands.
This document is separated into three books, serving as general guidelines to follow to be an efficient monarch. The first describes a king’s duty towards God as a Christian. The second focuses on the roles and responsibilities in office and the third concerns proper behavior in the daily lifestyle.
As the first part is concerned with being a good Christian, James instructed his son to love and respect God as well as to fear Him. Furthermore, it is essential to carefully study the Scripture (the Bible) and especially specific books in both the Old and New Testaments. Lastly, he must pray often and always be thankful for what God has given him. In the second book, James encouraged his son to be a good king, as opposed to a "tyrant", by establishing and executing laws as well as governing with justice and equality. To boost the economy, it is important to invite foreign merchants into the country and base the currency on gold and silver. According to James, a good monarch must be well acquainted with his subjects and therefore it would be wise to visit all kingdoms every three years. During war, he should choose old but good Captains to lead an army composed of young and agile soldiers. In the court and household, he should carefully select loyal gentlemen and servants to surround him. When the time came to choose a wife, it would be best if she were of the same religion and had a generous estate. However, she must not meddle with government politics, but perform her domestic duties. As for the inheritance, to ensure stability the kingdom should be left to the eldest son, and not divided among all the children. Lastly, it is most important to James that his son would know well his own craft, which is to properly govern over his subjects. To do this, he must study the laws of his kingdom and actively participate in the Council. Furthermore, he must be acquainted with mathematics, for military purposes, and world history, for foreign policy.
The final portion of the Basilikon Doron focuses on the daily life of a monarch. For instance, James advised his son to eat meat to be strong for traveling and during wartime. He must also beware not to drink and sleep excessively. Furthermore, his wardrobe should always be clean and proper, and he must never allow his hair and nails to grow long. In his writing and speech, he should use honest and plain language.
All of these guidelines composed an underlying code of conduct to be followed by all monarchs and heads of state to rule and govern efficiently. James assembled these directions as a result of his own experience and upbringing. He, therefore, offered the Basilikon Doron to his son with the hope of rendering him a capable ruler, and perhaps, to pass it down to future generations.
The Basilikon Doron repeats the argument for the divine right of kings, as set out in The True Law of Free Monarchies, which was also written by James. It too warns against "Papists" and derides Puritans. It advocates removing the Apocrypha from the Bible. The published Basilikon Doron may well have been intended to portray the king in a favorable light. James Sempill assisted James in composing it. Robert Waldegrave, who was bound to secrecy, printed seven copies at the king's behest. Henry Taylor said that he printed it on Waldegrave's press. Richard Royston, and later William Dugard, printed further copies.
The Basilikon Doron criticises both Roman Catholics and Puritans. This is in keeping with the king’s philosophy of following a "middle path", as reflected in the preface to the 1611 King James Bible."
Robert Plant - Carry Fire (Live)
"Just Like I Scarred You" - Robert Plant - Carry Fire
"...scab formed after a burn," literally "hearth, fireplace,"
"scar (n.1) late 14c., from Old French escare "scab" (Modern French escarre), from Late Latin eschara, from Greek eskhara "scab formed after a burn," literally "hearth, fireplace," of unknown origin. English sense probably influenced by Middle English skar (late 14c.) "crack, cut, incision," from Old Norse skarð, related to score (n.). Figurative sense attested from 1580s."
19 Nuns On Fire
"St. Brigid is associated with perpetual, sacred flames, such as the one maintained by 19 nuns at her sanctuary in Kildare, Ireland. The sacred flame at Kildare was said by Giraldus Cambrensis and other chroniclers to have been surrounded by a hedge, which no man could cross. Men who attempted to cross the hedge were said to have been cursed to go insane, die or be crippled. The tradition of female priestesses tending sacred, naturally occurring eternal flames is a feature of ancient Indo-European pre-Christian spirituality. Other examples include the Roman goddess Vesta, and other hearth-goddesses, such as Hestia. Both the goddess and saint are associated with holy wells, at Kildare and many other sites in the Celtic lands. Well dressing, the tying of clooties to the trees next to healing wells, and other methods of petitioning or honoring Brigid still take place in some of the Celtic lands and the diaspora"
"Vesta (Latin pronunciation: [ˈwɛsta]) is the virgin goddess of the hearth, home, and family in Roman religion. She was rarely depicted in human form, and was often personified by the fire of her temple in the Forum Romanum. Entry to her temple was permitted only to her priestesses, the Vestals, who tended the sacred fire at the hearth in her temple. As she was considered a guardian of the Roman people, her festival, the Vestalia (7-15 June), was regarded as one of the most important Roman holidays. The myths depicting Vesta and her priestesses were few, and were limited to tales of miraculous impregnation by a phallus appearing in the flames of the hearth - the manifestation of the goddess. Vesta was among the Dii Consentes, twelve of the most honored gods in the Roman pantheon. She was the daughter of Saturn and Ops, and sister of Jupiter, Neptune, Pluto, Juno, and Ceres. Her closest Greek equivalent is Hestia."
"Depicted as a good-mannered deity who never involved herself in the quarreling of other gods, Vesta was ambiguous at times due to her contradictory association with the phallus. She was the embodiment of the Phallic Mother: she was not only the most virgin and clean of all the gods, but was addressed as mother and granted fertility. Mythographers tell us that Vesta had no myths save being identified as one of the oldest of the gods who was entitled to preference in veneration and offerings over all other gods. Unlike most gods, Vesta was hardly depicted directly; nonetheless, she was symbolized by her flame, the fire stick, and a ritual phallus (the fascinus).
While Vesta was the flame itself, the symbol of the phallus might relate to Vesta's function in fertility cults, but it maybe also invoked the goddess herself due to its relation to the fire stick used to light the sacred flame. She was sometimes thought of as a personification of the fire stick which was inserted into a hollow piece of wood and rotated - in a phallic manner - to light her flame."
"The sacred flames of the hearth were believed to be indispensable for the preservation and continuity of the Roman State..."
"Concerning the status of Vesta's hearth, Dionysius of Halicarnassus had this to say: "And they regard the fire as consecrated to Vesta, because that goddess, being the Earth and occupying the central position in the universe, kindles the celestial fires from herself." Ovid agreed, saying: "Vesta is the same as the earth, both have the perennial fire: the Earth and the sacred Fire are both symbolic of home." The sacred flames of the hearth were believed to be indispensable for the preservation and continuity of the Roman State: Cicero states it explicitly. The purity of the flames symbolised the vital force that is the root of the life of the community. It was also because the virgins' ritual concern extended to the agricultural cycle and ensured a good harvest that Vesta enjoyed the title of Mater ("Mother"). The fecundating power of sacred fire is testified in Plutarch's version of the birth of Romulus, the birth of king Servius Tullius (in which his mother Ocresia becomes pregnant after sitting upon a phallus that appeared among the ashes of the ara of god Vulcanus, by order of Tanaquil wife of king Tarquinius Priscus) and the birth of Caeculus, the founder of Praeneste. All these mythical or semilegendary characters show a mystical mastery of fire, e.g., Servius's hair was kindled by his father without hurting him, his statue in the temple of Fortuna Primigenia was unharmed by fire after his assassination. Caeculus kindled and extinguished fires at will."
"In medieval Gaelic and British culture, a bard was a professional story teller, verse-maker and music composer, employed by a patron (such as a monarch or noble), to commemorate one or more of the patron's ancestors and to praise the patron's own activities. Originally a specific, lower class of poet, contrasting with the higher rank known as fili in Ireland and Highland Scotland, with the decline of living bardic tradition in the modern period the term "bard" acquired generic meanings of an author or minstrel, especially a famous one. For example, William Shakespeare, and Rabindranth Tagore, are known as "the Bard of Avon" and "the Bard of Bengal" respectively."
Scottish King and a Scottish Bard Family
"The MacMhuirich bardic family, known in Scottish Gaelic as Clann MacMhuirich and Clann Mhuirich, was a prominent family of bards and other professionals in 15th to 18th centuries. The family was centred in the Hebrides, and claimed descent from a 13th-century Irish bard who, according to legend, was exiled to Scotland. The family was at first chiefly employed by the Lords of the Isles as poets, lawyers, and physicians. With the fall of the Lordship of the Isles in the 15th century, the family was chiefly employed by the chiefs of the MacDonalds of Clanranald. Members of the family were also recorded as musicians in the early 16th century, and as clergymen possibly as early as the early 15th century."
Man and His Gods pdf link:
The Holy Grail As Bloodstone
Stones of Blood: Doctor Who
"The Stones of Blood is the third serial of the 16th season in the British science fiction television series Doctor Who, which was first broadcast in four weekly parts from 28 October to 18 November 1978. Part 4 was broadcast during the week of the show's fifteenth anniversary. It forms part of the Key to Time story arc. Tracking the third segment of the Key to Time, the Doctor, Romana and K-9 arrive in modern-day Cornwall. They meet Professor Emilia Rumford and her friend Vivien Fay, studying the "Nine Travellers" standing stones in Boscombe Moor. Their work is disrupted by a Druidic sect that worships the Cailleach, the Druidic goddess of war and magic, led by de Vries. de Vries and the sect are hostile to the newcomers, but the Doctor later finds the sect killed by mobile stones similar to those of the Nine Travellers, and determines the stones must be alien beings that feed on blood. He and Emilia find evidence that suggests Vivien is older than she looks. Meanwhile, Romana catches Vivien awakening more stones with blood, and Vivien uses a device to send her to a spacecraft in hyperspace. When the Doctor and Emilia arrive, Vivien tells them that Romana will be safe before disappearing herself. The Doctor recognizes the stones as Ogri, a life form from the planet Ogros."
"Their work is disrupted by a Druidic sect that worships the Cailleach, the Druidic goddess of war and magic, led by de Vries. de Vries and the sect are hostile to the newcomers, but the Doctor later finds the sect killed by mobile stones similar to those of the Nine Travellers, and determines the stones must be alien beings that feed on blood."
"On the ship, the Doctor learns the Megara are seeking a criminal known as Cessair, who had stolen the Great Seal of the planet Diplos, which grants its bearing great powers. The Doctor suspects Vivien is Cessair, and attempts to force the Megara to question her, but their law prevents such intervention. Having decided the Doctor's guilt, they fire an energy weapon at him, but at the last moment, the Doctor drags Vivien into the shot. The Megara immediately stop their attack and scan Vivien to see if she is unarmed, but instead discover that she is Cessair. Romana arrives with the additional evidence, and the Megara pass judgement on her. They return her to Earth and transform her into a standing stone in the moor, but not before the Doctor recovers the Great Seal which she wore. The Megara return to their ship to depart to Diplos. The Doctor affirms the Great Seal is the third segment of the Key, and he, Romana, and K-9 thank Emilia for her assistance before they leave in the TARDIS."
Karn Means Pile of Stones
"A cairn is a human-made pile (or stack) of stones. The word cairn comes from the Scottish Gaelic: càrn [ˈkʰaːrˠn̪ˠ] (plural càirn[ˈkʰaːrˠɲ]). Cairns have been and are used for a broad variety of purposes, from prehistoric times to the present."